Shakespeare’s first female critic: Margaret Cavendish

women reading shakespeare ed ann thompson sasha robertsMargaret Cavendish, Duchess of Newcastle, is one of the less well-known early commentators on Shakespeare, yet her “Sociable Letter” on Shakespeare, published in 1664, is “the first critical essay ever to be published on Shakespeare”. This judgement appears in Women Reading Shakespeare, 1660-1900, edited by Ann Thompson and Sasha Roberts.

Others such as Ben Jonson and Thomas Fuller had written in general terms about his abilities and life, but Margaret’s letter, (probably in fact a fictional letter written as if from one woman to another), shows that she knows many of Shakespeare’s plays well, probably from reading them rather than seeing them performed on stage.

In the letter she defends Shakespeare’s plays from the charge that they  “were made up onely with Clowns, Fools, Watchmen and the like”. She continues “Shakespeare did not want Wit, to Express to the Life all Sorts of Persons, of what Quality, Profession, Degree, Breeding, or Birth soever”.

She perceptively observes that “to Express Naturally, to the Life, a Mean Country Wench, as a Great Lady, a Courtesan, as a Chast Woman, a Mad man, as a man in his right Reason and Senses, a Drunkard, as a Sober man, a Knave, as an Honest man,… nay, it Expresses and Declares a Greater Wit, to Express, and  Deliver to Posterity, the Extravagancies of Madness, the Subtilty of Knaves, the Ignorance of Clowns, and the Simplicity of Naturals, or the Craft of Feigned Fools, than to Express Regularities, Plain Honesty, Courtly Garbs, or Sensible Discourse.”

Margaret Cavendish

Margaret Cavendish

I wasn’t aware what an interesting life she led. Margaret was born in 1623, the daughter of a wealthy gentleman, and as a girl spent her life between Colchester and London. Inevitably her life was disrupted by the civil war, during which she became a maid of honour to the Queen, Henrietta Maria, going with her into exile in Paris where she met and married her husband.

William Cavendish was thirty years older than his wife, and recently widowed when they met. A staunch royalist, he had already been a courtier, close to Prince Henry, the heir to the throne who had died young. He had commissioned work by Ben Jonson and was a patron to both John Ford and James Shirley. Both William and Margaret were writers of drama, and were interested in science. Writing on the subjects of natural philosophy, Margaret commented on the writings of Rene Descartes and  Thomas Hobbes, and after the Restoration of the monarchy she attended scientific demonstrations by Robert Boyle and Robert Hooke. William wrote a number of songs, and plays performed in London in the 1660s, collaborating with Dryden and Thomas Shadwell.

Welbeck Abbey in the 17th century

Welbeck Abbey in the 17th century

Though well-connected at court they spent most of their time at Welbeck Abbey in Nottinghamshire, at which they entertained lavishly. The University of Nottingham holds several archive collections relating to the family and this web page contains lots of interesting information about them.

There’s another tantalising Shakespeare connection. It’s known that in 1643 during the Civil War, the Queen, Henrietta Maria stayed in Stratford-upon-Avon on her way to Oxford, where the court in exile was held. King Charles I’s love of Shakespeare was well known and by tradition it is thought that she stayed at Shakespeare’s house, New Place, one of the largest houses in the town and still lived in by his daughter Susanna.

Poems and Fancies, one of Margaret Cavendish's publications

Poems and Fancies, one of Margaret Cavendish’s publications

Margaret Cavendish is thought to have become a lady in waiting to Henrietta Maria after her return to Oxford, just after this visit to Shakespeare’s home, so it’s unlikely she was there. And even more frustratingly William, who Margaret was to marry a couple of years later, had been accompanying the queen from the North of England to Oxford in May-June 1643, but was forced to remain in the North to combat Parliamentarian forces. Otherwise he would have been with her when she stayed in Stratford too. Knowing that both Margaret and William were admirers of Shakespeare it’s a pity that both missed the chance to meet his daughter and stay in his house, and to write about the experience.

Margaret was a women of extraordinary talent, though known as an eccentric. When she died in 1673, several years before her much older husband, she was buried in Westminster Abbey after a funeral procession that wound through the streets of London. And William gathered together and published her writings, Letters and Poems in Honour of the Incomparable Princess, Margaret, Duchess of Newcastle, work which is gradually receiving the attention it deserves.

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Shakespeare’s royal babies

DSCN3145Waking up this morning to the news that Kate has been admitted to hospital in the early stages of labour I cursed myself for not having a blog post about royal babies all ready to go. It has been after all one of the most hotly-anticipated events of recent months.

My first post on this blog, in April 2011, was on the occasion of Kate and William’s marriage, a day of so many Shakespearean resonances that I couldn’t resist it. I wasn’t ready then, either, setting up the blog on one side of the room as, out of the corner of my eye, I could see the preparations at Westminster Abbey on the TV. As the happy couple walked up the aisle together I snapped at the screen and posted the photo along with the blog, just as I’m doing today.

DSCN3146I commented then that Kates haven’t always had an easy time in Shakespeare’s plays, and the same is true of royal babies. Perdita in The Winter’s Tale is rejected by her father as a bastard, though it does her no harm in the end, and Mariana, Pericles’ daughter, is subject to many trials and dangers before she is almost magically reunited with her father.

In some plays, pregnancy adds to the darkness of the play. In Measure for Measure Juliet’s pregnancy reveals her relationship with Claudio and causes him to be condemned to death, and Bertram makes Helena’s pregnancy a condition of his acceptance of her as a wife in All’s Well That Ends Well.

Fortunately for Kate, the question of succession isn’t really the issue (though this baby will almost certainly be third in line to the throne regardless of gender).  But in the current TV drama The White Queen, which dramatises much of the period covered by Shakespeare’s Henry VI and Richard III plays,  it’s made only too clear that the main, if not the only role of the queen is to produce a male heir.

From The White Queen

From The White Queen

Last night’s episode was a reminder too of the risks and agonies of medieval childbirth. Here is a link to a post showing medieval representations of childbirth from illuminated manuscripts. The main focus of the series is Elizabeth Woodville, the commoner who married Edward IV. Already a widow, her first three children with Edward were all girls, so the anticipation must have been intense. Only a boy child could hope to improve the chances of an unchallenged succession, and eventually she bore two boys.

But that did not take into account Edward’s early death, leaving her little sons vulnerable to the squabbles of nobles. nor the ambitions of Shakespeare’s Richard III. “Woe to the land that’s governed by a child” was a justified opinion.Elizabeth’s sons are imprisoned in the Tower of London, “Rough cradle for such little pretty ones”, before being murdered on the orders of their uncle. The old queen, Margaret, taunts her:
Where are thy two sons? Wherein dost thou joy?
Who sues, and kneels, and says “God save the queen?
Where be the bending peers that flattered thee?
Decline all this, and see what now thou art:
For happy wife, a most distressed widow;
For joyful mother, one that wails the name;
For one being sued to, one that humbly sues;…
Thus hath the course of justice whirl’d about
And left thee but a very prey to time.

The royal baby that has the greatest impact in Shakespeare is the infant Elizabeth, daughter of Anne Boleyn, carried onto the stage at the end of Henry VIII, and blessed by her father. In a piece of unabashed royalist propaganda,  Archbishop Cranmer prophesies:
Truth shall nurse her,
Holy and heavenly thoughts still counsel her;
She shall be loved and feared: her own shall bless her;
Her foes shake like a field of beaten corn,
And hang their heads in sorrow: good grows with her;
In her days every man shall eat in safety
Under his own vine what he plants, and sing
The merry song of peace to all his neighbours.

But later proclaimed illegitimate, in disgrace, threatened, and put into the hands of unscrupulous guardians, Elizabeth’s early life bore quite a resemblance to those other royal daughters until the tide turned with the death of her sister Mary.

DSCN3168How different is it for the latest royal baby. The world’s media, loving a good news royal story, has gone into overdrive. On the hottest day of the year, sweltering film crews are stationed opposite the hospital hoping for a swift delivery. Kate’s baby, boy or girl, is assured a privileged lifestyle and a good prospect of eventually inheriting the throne. In the mean time we can all enjoy the game of guessing what name will be chosen, and waiting for those first photos.

PS: Unless you have been living in a cave since Monday afternoon, you will already know that Kate’s baby boy was born at 4.24pm on 22 July, weighing 8lb 60z!

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Taking Hamlet to the world: Dominic Dromgoole’s “lunatic idea”

Dominic Dromgoole

Dominic Dromgoole

You have to hand it to Dominic Dromgoole, the Artistic Director of Shakespeare’s Globe: he’s not afraid of a challenge. Looking to beat the 2012 Globe to Globe Festival project, his latest scheme is to take Hamlet on World Tour, and when he says World, he means all of it.  “I think having a lunatic idea is a very good thing, it’s a great way to keep everybody focused and dazzled and delighted by the ambition and energy of the company,” he said. “If we’re going to do every country in the world it has to be every country, we’re not going to leave anyone out.”

There are links here to the Guardian‘s, the BBC’s and Reuters‘ reports on the announcement.

This means 205 countries in two years, beginning on 23 April 2014, 450 years since Shakespeare’s birth and ending on 23 April 2016, 400 years since his death. Hopefully the company won’t often find themselves asking “What country, friend, is this?”, though as the schedule works out at two a week they could hardly be blamed for getting confused.

I thought the 2012 Globe to Globe sounded more than “slightly mad” when first announced, with 37 Shakespeare plays in 37 different languages staged in London by companies from around the world over a period of just a few weeks. The project included Troilus and Cressida in Maori and Coriolanus in Japanese, among many others.

Joshua McGuire at the Globe, 2011

Joshua McGuire at the Globe, 2011

Globe to Globe Hamlet will be playing a tried and tested two and a half hour version of the play which they’ve already taken on tour around Britain, Europe and the United States. Twelve actors will play in rotation, eight at a time to give everyone some time off and to allow for unforeseen events. Touring has always been hard work. Dromgoole states that “the spirit of touring…was always central to Shakespeare’s work”, but it may be worth remembering that the players in Hamlet are forced to travel not because they want to, but because the fashion for boys’ companies has forced them to find new audiences.

They’ll travel by automobile, boat, train and plane, and will perform in town squares, on beaches and in jungle clearings as well as the odd theatre. Will they go to places mentioned in Hamlet: Vienna in Austria, Paris in France, and in Italy, the Capitol in Rome, as well as the already-confirmed final performance at Elsinore Castle on 23 April 2016?

The logistics make my head spin, and I’m hoping they have a crack team of administrators/fixers to help sort out not just the transport and fundraising but also the diplomatic issues for countries like North Korea. Antarctica will be a challenge for other reasons, but the line “‘Tis bitter cold, and I am sick at heart”, will certainly strike a chord with the audience (will this consist of the Antarctic survey team, or a few million penguins, I wonder?).

The reconstructed Shakespeare's Globe

The reconstructed Shakespeare’s Globe

I’m also intrigued to think how this marathon will be recorded. The Globe to Globe Festival productions were part of the 2012 Year of Shakespeare, and  the Year of Shakespeare website was created to collect together basic information about the productions and reviews of them. Earlier this year a book was published that put this material into printed form.

This new project has the potential to be yet more influential, and to find more new ways of recording performance. The play will be captioned for non English-speaking countries, and some of the countries have never see staged Shakespeare at all before. Being able to access people’s reactions by recording members of the audience on the spot, but also allowing them to post their own impressions, could be terrific. Hopefully photographs will be taken of each venue, cast and crew will be writing a blog as they go, and there will be efforts to capture local responses in each place whatever the medium: TV, radio, newspapers. It’s a project that could really show off the potential of the internet to connect people from around the world through Shakespeare. If you’re interested in seeing how the project develops a Twitter feed  @WorldHamlet has already been set up.

While Shakespeare’s Globe has embraced the idea of transmitting performances to audiences via the cinema and DVD, nothing beats the experience of live performance. Those involved will need stamina, good health and a robust sense of humour as well as acting ability, and taking part is sure to be a life-changing experience. Hopefully it will also have a long-term effect in the far-flung places visited by the tour.  All  the world’s a stage indeed.

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World Listening Day: Shakespeare in concert

globe henry 6Today is World Listening Day, and although it’s mostly focused on hearing music and the sounds of nature, there is also a link with Shakespeare. Earlier this week a journalist, Rupert Christiansen, wrote a piece in the Telegraph expressing his wish to experience Shakespeare by listening to the poetry rather than watching it. He must have expected it to be controversial:  he raised a series of questions about the audibility of actors and the eccentricity of directorial concepts as well as suggesting that Shakespeare might be performed in concert conditions rather than in full productions.

This article was extensively retweeted and I was fascinated to read the often vitriolic comments of tweeters. Maybe it was because the article appeared in the Telegraph, or because Christiansen mentioned opera, but many tweets suggested that a “concert” performance would be elitist. The implication seemed to be that a theatre performance is democratic, an interesting thought for those who have struggled for years to overcome the popular notion that Shakespeare is only for posh people.

Christiansen’s tone in the article is actually quite apologetic, and I think he has a point. He quotes the poet Stevie Smith watching Romeo and Juliet and finding siding “irrevocably with the verse” made impossible when ” striving so hard to rise above the clash and clamour of inessentials”. She was probably thinking about the fights, or the banquet, but Shakespeare wisely cut the distractions right down when it came to the balcony scene, set at night, between the two leading players.

Shakespeare, particularly in his more mature plays, often gave his actors show-stopping speeches to deliver. He must have relished writing these virtuouso pieces of poetry, which sometimes have little to do with the action of the play. But Shakespeare’s dramatic poetry was still written to be performed, not just read, and it’s best appreciated by being heard.

I remember a performance at the Stratford Poetry Festival in which Richard Pasco, a master of Shakespearean verse speaking, delivered Clarence’s great speech from Richard III. He describes his dream of drowning, and this is just a bit of it:
Methought I saw a thousand fearful wrecks;
Ten thousand men that fishes gnawed upon;
Wedges of gold, great anchors, heaps of pearl,
Inestimable stones, unvalued jewels,
All scattered in the bottom of the sea.
Some lay in dead men’s skulls, and in the holes
Where eyes did once inhabit, there were crept –
As ’twere in scorn of eyes – reflecting gems,
That woo’d the slimy bottom of the deep,
And mocked the dead bones that lay scattered by.

Eileen Atkins as Rosalind and Richard Pasco as Jaques in As You Like It, 1973

Eileen Atkins as Rosalind and Richard Pasco as Jaques in As You Like It, 1973

The speech isn’t totally irrelevant: Clarence goes on to be drowned, though in a butt of malmsey, not in the sea, but that didn’t stop Shakespeare imagining the scene. It was magical. I’d also seen Pasco performing the role on the same stage, just the year before, but it never had the same impact as it did in the “concert” performance. Incidentally, Richard Pasco’s performance of the Seven Ages of Man speech from As You Like It, another of those arias, provided the young Gregory Doran with the starting point for his obsession with Shakespeare.

As well as poetry readings, I’ve found one-man shows like Ian McKellen’s Acting Shakespeare a great way of hearing the words, and McKellen effectively manages to play more than one role at a time, for instance playing both Falstaff and Hal from Henry IV part 1.

ian mckellenI’ve just found this recording of a performance of this show on Vimeo: made in 1982, it looks very dated and I would guess it’s an early version of the show which he went on to refine, but McKellen’s formidable skills are terrific to observe.

A production that came close to the idea suggested by Christiansen was the 1964 production of Hamlet with Richard Burton, directed by John Gielgud, in New York. With minimal directorial interpretation, and unencumbered by “costumes or flash-harry concepts”, Burton wore plain black clothes and used minimal props on an almost bare stage. Its enormous success, though, was put down more to the high-profile tempestuous relationship between Burton and Elizabeth Taylor rather than the production itself.

The production which sparked off Christiansen’s comments was the current Globe production of the three parts of Henry VI, plays which have been admirably presented by the RSC on a number of occasions.

Director Nick Bagnall has adapted the three plays to run at two hours each in order that they can be presented at some of the actual battlefields where the Wars of the Roses were fought. “A lot of talking in a field doesn’t really work – it needs to be action-packed,” he says. “I’ve got rid of all of the chit-chat and gone straight to the bone. The purists will probably hate me for it, but you can’t please everybody.”

You can, I think, see Christiansen’s point, especially since there are speeches in even these early plays that are worth listening to. So I’m all for the idea of allowing the words their full weight and allowing my “mind’s eye” to imagine the rest. Maybe when a production is being staged the company could do a concert performance, and see how it goes. If anybody wants to have a try, I’d love to be there!

 

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Walking with Shakespeare: the new Shakespeare’s Stratford-upon-Avon app

POI-01-1When I chose the sub-title for this blog, I picked “In Shakespeare’s footsteps” partly to suggest that I would be following, rather than stating my own opinions, but also because I love walking. There’s something about the act of putting one foot in front of the other that encourages reflection and I like to think there’s something special about experiencing places he knew in the same way he did.

I’ve always enjoyed showing visitors round the town, but without a carrying voice the job of tourist guide was never an option. But when at the beginning of the year I got an email out of the blue from the Hungarian company Pocket Guide suggesting I might like to write a walking tour of Stratford-upon-Avon which would be published as a smartphone app, I jumped at it.

Pocketguide_logoNow, finally, the app is published.  Shakespeare’s Stratford-upon-Avon leads you around the town from site to site. The GPS system in your smartphone senses when you are approaching one of the points of interest and automatically begins the commentary, then tells you where to go next. Pocket Guide wanted to create walks led by local people who would have their own angle on their special place, rather than using regular tour guides. So I recorded myself reading the commentaries and sent off dozens of photographs of the town.

The tour links people and places around the town with quotations from Shakespeare’s works, and shows how he brought memories of his childhood into the plays. It also records some of the ways in which he is still commemorated in the town.

If you want to experience the app, you can download it from the Pocket Guide website or go to the App Store. It’s available for both Apple and Android systems. First download the Pocket Guide app itself, then search for Stratford-upon-Avon. The free version is immediately available for online use where you have a wifi connection, but for the full effect you need the offline download which costs around £2.  When you’re doing the tour you don’t need to keep stopping to read a guide book or consult a map, though the onscreen map always shows you where you are, and the written commentary can be read on the phone. You can stop half way round and even access it from home to listen again and look at the photos.

If you don’t have a smartphone but would like to hear a sample of the commentary, here’s the section that relates to The Dell, just next to Holy Trinity Church.

Stratford still has its own unique atmosphere and character, but much of this comes back to its most famous resident: the beauty of the riverside, historic buildings and quality shops and restaurants would not be the same without the tradition of visiting the town which has built up over more than two centuries.

POI-19-2I also believe Stratford is a town best seen on foot, and in an ideal world I would like to see far more people getting out of their cars and walking or cycling round it. Pedestrianising the main streets would allow those with disabilities, children and dogs to move safely and even to enjoy the experience instead of having a constant battle with cars and delivery vehicles. By coincidence an article in this morning’s Times quotes a leading architect, Lord Rogers of Riverside, who believes that within 20 years there will be a widespread ban on cars in London, with cycling helping to solve congestion, and small electric rickshaws to help to take the strain. He also calls for cities and towns to be designed to give priority to pedestrians and cyclists. Apparently several towns are currently discussing pedestrianisation including Oxford, Aberdeen and Brighton. If it was encouraged we might be able to get an even stronger impression of what life was like in Shakespeare’s Stratford-upon-Avon.

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Kenneth Branagh’s Macbeth: an interpretation for our times?

Macbeth_MainSir Kenneth Branagh’s “electrifying” and “immersive” production of Macbeth is the current hot Shakespeare ticket, playing for just a month in a disused church in Manchester that seats only 250 people. It’s ensured that Manchester’s International Festival has received worldwide attention. A quick internet search reveals reviews from right across the USA and responses from ticket-holders making a special trip from as far away as Germany.

Although the tickets cost £65 each, with a few concessions for Manchester residents, it’s reported that they sold out in half an hour. All is not lost for those without tickets though: in Manchester on 20 July this intimate production is being relayed live to a giant outdoor screen, and simultaneously will be shown in around 650 cinemas around the world.

Michael Billington of the Guardian has recommended people not to miss this live event and most of the reviews have shared his enthusiasm. Here are links to the review in the Daily Telegraph, The Stage, and the Financial Times, and a roundup from the USA.

macbeth branaghThe production marks the return of Kenneth Branagh to the stage in a Shakespeare role for the first time in ten years. Now 52, I suspect he was waiting for the right moment to play this superb role. Macbeth is often played much younger, helping to explain his impetuosity in grasping the throne. In 2013 we’ve already seen two young Macbeths, by James McAvoy and, currently at the Globe, Joseph Millson. Both these have stressed the humour of the play, and at the Globe, the initial innocence of the protagonist. Other productions have made much of the importance of religion, or the horrors of the supernatural.

So it’s already been a great year for Macbeth, but Branagh’s production, rather as I heard Stephen Boxer say about Titus Andronicus, shows the effects of long-term violence on the human psyche. In his interview with Radio 4 Today’s Evan Davis Branagh talks about the idea of “dis-ease”, and how the play’s relevance lies in its preoccupation with the inner life, of what he calls “self-talk”. At least one of the morals of the play is that “you should be careful what you wish for because with it, comfort does not come”.

macbeth1_2610279bThe play has long had a reputation for bad luck, perhaps not surprisingly given the potential for accidents. In  this production the stakes are raised: the opening battle, only described by Shakespeare, is staged with thunder, lightning and rain as well as real swords wielded only a few feet from the audience. The Daily Telegraph reported that Branagh had injured one of the actors during this high-energy battle scene.

Ever since he first came to wide public view, with his 1984 RSC Henry V aged only 23, he’s been called the heir to Laurence Olivier, who notably brought many of Shakespeare’s plays to both stage and screen. A rumour is now circulating that he may be appointed to lead the Old Vic in London. This theatre housed the National Theatre for some years before the current building was constructed on the South Bank. The Artistic Director at the time was none other than Laurence Olivier.

Branagh’s career has twisted and turned since his early meteoric success, but in this Dominic Cavendish reminds us of the Branagh-mania which accompanied his precocious work in the 1980s.

If you want to catch this latest production, follow the link to book to see it at your local cinema live on 20 July, or if you’re lucky, at an Encore presentation later.

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Shakespeare and the sweet of the year

Dog-roses growing in a hedgerow on the Welcombe hills

Dog-roses growing in a hedgerow on the Welcombe hills

This week the UK is experiencing the warmest weather of the year. Whether it’s because last year was so disappointing, or because spring arrived so late,  summer is bringing with it an explosion of blooms with, it seems to me, an unusual intensity of scent.

In gardens, modern cultivars of plants mentioned by Shakespeare are blooming their hearts out, especially roses, honeysuckles and carnations. No character in Shakespeare personnifies the spirit of summer more than Perdita in The Winter’s Tale dressed as the goddess Flora,  in which
the fairest flowers o’th’season
Are our carnations and streaked gillyvors.

In the sheep-shearing scene Shakespeare raids his memory-bank for plants flowering or used at different seasons: herbs such as savory dried for winter, spring flowers like primroses for the young girls of the village and the summer flowers carnations and pinks.

Our garden roses, beautiful as they are, are mostly rather distantly related to the roses Shakespeare knew and valued for both the beauty of their flowers and their scent. “That which we call a rose by any other word would smell as sweet”, as Juliet has it. Roses were grown in gardens (although the famous scene in which Lancastrians and Yorkists choose red and white roses is an invention), but dog roses, then as now, grow in hedgerows.

Honeysuckle

Honeysuckle

Shakespeare’s familiarity with plants and flowers has often been commented on and Richard Mabey, in his wonderful book Flora Britannica, quotes a number of Shakespeare’s mentions, in particular of honeysuckle. Honeysuckle is a native plant now seen more often in our gardens than in hedgerows, which releases its scent more strongly in the evening. Titania, wooing Bottom in A Midsummer Night’s Dream refers to the plant’s winding habit as well as its intoxicating night-time scent.
Sleep thou, and I will wind thee in my arms…
So doth the woodbine, the sweet honeysuckle,
Gently entwist; the female ivy so
Enrings the barky fingers of the elm. 

The plant pictured is growing on a wall just across the road from Holy Trinity Church.

Earlier this week I went for a walk around the north Cotswolds, just a few miles south of Stratford-upon-Avon. As we walked along ancient footpaths bounded by hedgerows I was reminded time and again of plants mentioned by Shakespeare. Blackberry bushes are flowering abundantly just now and I would guess we’re in for a bumper harvest of these delicious fruits which were so common that Shakespeare describes them only as “plentiful”.

Also in the hedgerows were nettles, thistles and docks, dog-roses and elder bushes in full flower. Elder has a reputation for being an unlucky plant, Shakespeare mentioning the legend that Judas hung himself on an elder tree. Cow parsley, a wild plant called kecksies by Shakespeare (still commonly known as keck), has a number of other names including Queen Anne’s Lace, but is now past flowering, as is the beautiful hedgerow bush May.

In Henry V, the Duke of Burgundy likens France to a neglected garden:
her hedges even-pleach’d,
Like prisoners wildly overgrown with hair,
Put forth disorder’d twigs; her fallow leas
The darnel, hemlock and rank fumitory
Doth root upon,…  The even mead, …
Wanting the scythe,…nothing teems
But hateful docks, rough thistles, kecksies, burs,
Losing both beauty and utility.

I didn’t spot any hemlock on our walk, but these impressive, poisonous plants grow alongside the Avon near Stratford.

We walked past banks like Titania’s “where the wild thyme blows”,  covered in flowering buttercups, clover and common spotted orchids.

Wisteria growing on a Cotswold wall

Wisteria growing on a Cotswold wall

Visitors to Stratford can’t help noticing the wisteria that now covers many old buildings, and that flowered profusely a few weeks ago: it always seems sad to me that this gorgeous plant was only imported into England many years after Shakespeare’s lifetime, so he could never have seen and smelled it.  But there’s no doubt that he loved the plants he saw in  summertime in the gardens and countryside.

 

 

 

 

 

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On the road: travelling and communicating with Shakespeare

_68597625_murray_kissOf all the times for it to happen, on the day Andy Murray won Wimbledon my broadband connection failed, finally coming back to life about half an hour after he raised that trophy. I was painfully aware, all day, of how pathetically reliant I’ve become on the technology that lets me communicate with others around the world in seconds.

The nature and speed of travel and both real and online communication has been on my mind in the last few days. I’m very much looking forward to Ben Jonson’s Walk, a virtual walk that begins on 8 July. It follows Ben Jonson’s 1618 walk from London to Edinburgh, a leisurely journey that took him until September to complete. Jonson was in no rush, taking the opportunity to visit many of his genteel friends and admirers on the way. I wrote about it a week or two ago: the people in charge of the project at the University of Edinburgh are going to be tweeting and blogging as Ben travels, and it’s going to be a great reminder of just how difficult it used to be to get news from place to place.

HandlebardsThe theatre group Handlebards are already on the way to doing the journey in reverse. I was sent information about this wonderfully inventive tour a couple of weeks ago and am full of admiration for the all-male group who are spending the summer taking two of Shakespeare’s plays, Twelfth Night and Romeo and Juliet, on tour on their bicycles. They describe it as 4 actors, 4 bicycles, 40 characters and a 926 mile adventure. All their costumes, props, and tents are carried on the bikes with them. Take a look at their itinerary, which ends up in Chelsea on 23 August, and give them your support. This is a great idea that combines Shakespeare with caring for the environment and I’m already looking forward to seeing them perform Twelfth Night on 11 August at the Dell in Stratford-upon-Avon.

The plots of both Twelfth Night and Romeo and Juliet turn on the delivery of letters, especially in Romeo and Juliet where the lack of a reliable postal service means that Romeo fails to receive Friar Laurence’s letter telling him that Juliet is not really dead.

Hardwicke,Bess(CShrewsbury)01I’ve recently discovered a fascinating new website, created by the University of Glasgow, Bess of Hardwick’s letters, which bring together all the known surviving letters written by or to this formidable woman. Although modestly born around 1521, Bess made herself a powerful matriarch and the founder of a substantial dynasty. She married four times, and her husbands brought her wealth and status. She is best remembered today for building some of the most impressive stately homes of the day, especially Hardwick Hall in Derbyshire. To quote the site:
Bess’s letters bring to life her extraordinary story and allow us to eavesdrop on her world. The letters allow us to reposition Bess as a complex woman of her times, immersed in the literacy and textual practices of everyday life as she weaves a web of correspondence that stretches from servants, friends and family, to queens and officers of state.

The site contains a lot more than just digitised images of the 234 letters. Many of them have been transcribed, allowing anyone to read them (though the original spelling has been retained), and they are searchable.

One of Bess of Hardwick's letters

One of Bess of Hardwick’s letters

What I’ve particularly enjoyed though is the background information, commentaries that provide guides to the whole business of letterwriting from the preparation of paper and ink, handwriting, how letters were delivered, and the writing styles adopted by Bess herself and by those writing to her, depending on the circumstances. Many of the letters are written in what we would think a sycophantic style, but her extreme politeness and flattery obviously worked.

One of the letters, from 1573, offers guidance to an unknown recipient on how to write a persuasive letter, based on her own experience. There’s little punctuation to help, and the spelling is difficult, but you can almost hear her voice suggesting “the more earnest and plain it is the more good it will do”. She writes that the recipient of the letter
 wylbe the more yours when he knows by your Letters that you thenke your selfe behoulding to hym and ys content to make your selfe so styll;/ your selfe wyll vse more effectuall and good words then I can deuyce./ … with promys that you wyll euer bethankfull to hym and hys and to requyt yt by all the good means that shall Ly in your powar, the more earnyst and playn yt ys the more good yt wyll doe.

Shakespeare was a master of persuasive writing, and it’s regrettable that we don’t have a single one of his own letters. But perhaps we’re better off with those within the plays, because Shakespeare’s letters home were probably like the one from actor Edward Alleyn to his wife from Bristol in which, instead of telling us how the plays have been going down he reminds her to dye his stockings black and to sow spinach in the garden.

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Getting to grips with Shakespeare in Education

A photo from the Folger Shakespeare Library's education pages

A photo from the Folger Shakespeare Library’s education pages

This week I attended a symposium titled Shakespeare in Education: Current Trends and New Directions, organised and led by students of The Shakespeare Institute, University of Birmingham.

Just between you and me, I was hoping to spend most of the day hearing about other people’s experiences as educators and learners, but it turned out to be a much more active day than that. Breaking the ice by offering each other Shakespearean compliments was a great way to start, and I’d like to thank Laura, Thea, James and the other attendees for making the participatory sessions such fun.

Nobody there needed any convincing on the question of why Shakespeare deserves to be taught in schools, so the day focused very much on the “How?” With a mixture of experienced teachers, students and interested observers the day gave all of us a fresh look at this developing subject. Many of the participants had taken part in recent international Shakespeare conferences, in particular last year’s Worlds Together Conference on Shakespeare in education in London sponsored by the Royal Shakespeare Company, and the recent Folger Shakespeare Library educational workshop on Setting Shakespeare Free and at the 2013 Shakespeare Association of America (SAA) Conference, Toronto.

A photo of an RSC education session

A photo of an RSC education session

The morning focused on active approaches to Shakespeare, looking at ways of using theatrical techniques rather than examining Shakespeare simply as a piece of text.  With no glitzy presentations the sessions had more of the flavour of a self-help group, and all the better for it as discussions centred on practical issues and solutions to real problems.

James Stredder led the morning’s main session with Shakespeare in the Cyberage: can collective theatre-making survive in today’s classroom? A few years ago James used his vast experience to write the invaluable teaching resource The North Face of Shakespeare. He involved us in several levels of activity from those that demanded no acting skills at all, to setting up tableaux based upon a line from a play and finally to the acting out of key moments from Act 1 of Hamlet using short pieces of dialogue. Making all the participants active is the ideal but later in the day some of the teachers commented on how difficult this can be to achieve given the reluctance of some teenagers to join in. Some of the suggestions offered to reduce students’  self-consciousness included using masks and acting scenes out using toys as models.

king-richard-iii cambridgeIn his career James has worked with many of the best educators and suggested a number of resources to use for inspiration: I was pleased to be reminded of the work of the late Rex Gibson whose Cambridge School Shakespeare editions cover 27 of Shakespeare’s plays. These editions print the text on one side of the page while the facing page suggests ways of  teaching it. These down to earth editions, born of real experience, have provided teachers with practical help for a number of years.

After lunch the day got a lot more digital. Andrew Kennedy demonstrated his Moviestorm system which allows anybody to create their own movies by combining their own sound with avatars, and has a number of uses from creating training videos and commercial presentations to educational use in classrooms. The beauty of the system is that pupils can take the software and either by themselves or in groups put together a scene from Shakespeare. Although this might be seen as a “sitting down” rather than a “standing up” activity, in fact it gives those who don’t have acting skills or ambitions the chance to create their own performance. I found the way that the avatars can be manipulated to convey meaning and emotion by quite subtle facial expressions and body language absolutely fascinating.

moviestormWhile it was agreed earlier in the day that it was more important to make young pupils comfortable with the language rather than trying to make them understand every word, at some point it’s necessary for students to really engage with the words. This system allows a combination of approaches. Andrew Kennedy has been working with actress/academic Abigail Rokison on making the software more appropriate for education, and as an example he demonstrated how an avatar could be created to “speak” some text recorded by Abigail, standing on a representation of the Globe’s stage.

moviestorm webpageMoviestorm is a commercial product and one of the main constraints for teachers is lack of funding, but it has great potential and for any of you who would like to check it out and have a bit of time to play with it, there’s a two-week free trial available.

I’d like to thank Laura Nicklin and Thea Buckley for allowing me to take part, and all the other participants for making this a fun yet informative day. Thanks are also due to the Shakespeare Institute for hosting the event and the Library staff for their display of resource materials.

The British Shakespeare Association’s Educational Network exists to help support anyone interested in teaching Shakespeare and information about the day will be posted on its blog shortly. Anyone who wants to share their teaching experiences is welcome to post on the site.

Any teachers looking for ideas should also check out the Folger Shakespeare Library and the Royal Shakespeare Company as both websites contain masses of helpful online resources.

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Blogging with Titus Andronicus, part 2

  Matthew Needham (Lucius), Kevin Harvey (Aaron)

Matthew Needham (Lucius), Kevin Harvey (Aaron)

At the end of last week I wrote about the RSC’s current production of Titus Andronicus and the blogging event to which I was fortunate enough to be invited.

In that first post I put up a few clips I made at the Q&A with the director and some of the leading actors, talking about different areas of the play and rehearsal period. Much of the discussion was about the key issue of violence in the play, on which this post is going to concentrate.  Again, I apologise for the quality of the recordings, made at the Q&A. Mark Neal, another of the bloggers present has written his own review of the production and summary of the event.

Most commentators agree with the RSC’s description of it as “Shakespeare’s bloodiest and most violent play” : popular in Shakespeare’s own lifetime but thereafter neglected. Samuel Johnson could not believe that Shakespeare wrote any part of it, and declared that “the barbarity of the spectacles, and the general massacre which are here exhibited, can scarcely be conceived tolerable to any audience”.  With the magnificent black actor Ira Aldridge looking for suitable roles the play was revived in the nineteenth century, but heavily rewritten to make Aaron heroic rather than evil. Then the 1923 revival at the Old Vic, the first for many years, seemed to confirm Johnson’s view, the audience laughing at the final bloodbath. It took another 32 years and the casting of the greatest heroic actor of his time, Laurence Olivier, before the play was given another showing, this time in Stratford-upon-Avon.  The director Peter Brook defused the potential for unwanted laughter by ritualising the violence of the play.

Sonia Ritter as Lavinia, Donald Sumpter as Marcus

Sonia Ritter as Lavinia, Donald Sumpter as Marcus

Since then there have been several productions at Stratford, including one featuring Patrick Stewart, directed by John Barton, which added a framing device to distance the play being performed by a band of travelling players. My favourite production was that in 1987, at the newly-opened Swan Theatre, directed by Deborah Warner (see photo to right).  I remember the simple but bold staging and costuming and the raw emotional power of the play. As a member of the audience I felt involved and drawn into the world of the play in spite of its obvious theatricality.

In this clip Michael Fentiman, the director of the current production, talks about staging the violence of the play, and the sense of austerity he has tried to maintain despite the expectations raised by the show’s video trailer.

Although the actual violence of the play tends to overshadow it, the subject matter of the play is very political. It expresses the anxiety of Elizabethans about the hottest subject of the day: what happens when the succession is unclear, or there are conflicting claims to the throne. The memory of the years after the death of Henry VIII would have been strong. And brutality was part of life, with bear-baiting for entertainment, public executions and the heads of traitors on display on London Bridge. In the Q&A, Stephen Boxer who is playing Titus talked about how Shakespeare discusses the dangers of tribalism and reminds us of the violence that is in all of us.

Rose Reynolds as Lavinia

Rose Reynolds as Lavinia

I’m uneasy at being expected to find violence entertaining, and I found the mixture of styles of costume and set in the current production distracting.  But after the wildness of the bloodbath in the final scene I enjoyed the quiet sense of ambiguity of the final moments of the play, when Young Lucius, surrounded by bodies, cradles Aaron and Tamora’s baby in one arm, a knife in the other hand. In this last clip the director talks about the three different endings which they rehearsed, which encapsulate the alternatives offered by the play.  Will one or both of these children fall prey to the violence of Rome, the “wilderness of tigers” or will they be the instruments of peaceful reconciliation, as Marcus hopes:
You sad-faced men, people and sons of Rome,
By uproar severed, as a flight of fowl
scattered by winds and high tempestuous gusts,
O, let me teach you how to knit again
This scattered corn into one mutual sheaf,
These broken limbs into one body.

For any of you receiving this post by email, you may need to click on the link to the blog itself at the end of the email then click on the orange circles to play the sound clips. Both the photos from the current production are by Simon Annand. And many thanks again to the RSC Press Office for organising and managing the evening and the actors and director for their performances and insights during the Q&A.

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